American Cinematographer - January 2019 - 66
Light Fantastic
Shooting on the Shepperton stages allowed a lot more control than was possible when shooting on location, but it also came with more ambitious requirements.
Among the major set builds was the all-important Cherry Tree Lane. Beebe describes
the Cherry Tree Lane set as "a huge build, where we re-created that whole street on
the Shepperton H Stage. From there, we were bouncing around and doing builds, and
tearing various sets out and putting them back on at least six Shepperton stages.We
had three big musical numbers that required a fair amount of greenscreen because
of the many visual-effects and animation elements, so we needed a dedicated greenscreen stage. But Cherry Tree Lane was the one that had to stay built, because we
go through the movie seasonally; we travel through winter and a sort of depressed
state, to spring when the cherry trees blossom.That set was up pretty much for our
entire production period."
According to Smith, the Cherry Tree Lane set posed particular lighting challenges. "It was demanding just to fit everything in there," he says. "We needed to
seamlessly go from day to night to dusk during different seasons."
To provide a flexible solution to accommodate this wide breadth of lighting
needs, a tremendous, movable soft box was built over the entire stage. "More than
200 Arri LED SkyPanels were rigged through a giant diffusion, providing a 'sky' that
was fully adjustable in intensity and color temperature," Beebe notes. To create directional sunlight, Smith adds, "we had 20Ks that we attached to wire systems through
the roof, which were on trolleys with electric motors, so we could move the units
around to where we wanted them to be. That way, we could slide them up and down
the stage."
66
January 2019
ASC 100th Anniversary
stages, ending in our huge Abandoned
Park set. The number then develops into a
complex choreographed dance routine
with more than 30 dancers, extreme bicycle
stunts, ladder acrobats, and a synchronized
dance with burning torches. This blend of
location work and stage presents big challenges, as the control we are able to
manage on stage is always very tough to
replicate on location.
"Rob, John de Luca, and their team
of choreographers worked for weeks prepping the dancers and training the cast,"
Beebe continues. "I would shoot rehearsals
and discuss with Rob throughout the prep.
Lin-Manuel Miranda [who plays leerieleader Jack] was amazing, dancing side by
side with some of the best dancers in the
business. It's a number that goes for eight
minutes, and it was designed to keep
building and introducing more spectacle.
'Trip' was also our most theatrical number,
making use of moving lights and multiple
lighting cues."
➔
American Cinematographer - January 2019
Table of Contents for the Digital Edition of American Cinematographer - January 2019
Contents
American Cinematographer - January 2019 - Cover1
American Cinematographer - January 2019 - Cover2
American Cinematographer - January 2019 - 1
American Cinematographer - January 2019 - 2
American Cinematographer - January 2019 - Contents
American Cinematographer - January 2019 - 4
American Cinematographer - January 2019 - 5
American Cinematographer - January 2019 - 6
American Cinematographer - January 2019 - 7
American Cinematographer - January 2019 - 8
American Cinematographer - January 2019 - 9
American Cinematographer - January 2019 - 10
American Cinematographer - January 2019 - 11
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American Cinematographer - January 2019 - 14
American Cinematographer - January 2019 - 15
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American Cinematographer - January 2019 - 17
American Cinematographer - January 2019 - 18
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American Cinematographer - January 2019 - 28
American Cinematographer - January 2019 - 29
American Cinematographer - January 2019 - 30
American Cinematographer - January 2019 - 31
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American Cinematographer - January 2019 - 33
American Cinematographer - January 2019 - 34
American Cinematographer - January 2019 - 35
American Cinematographer - January 2019 - 36
American Cinematographer - January 2019 - 37
American Cinematographer - January 2019 - 38
American Cinematographer - January 2019 - 39
American Cinematographer - January 2019 - 40
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American Cinematographer - January 2019 - 42
American Cinematographer - January 2019 - 43
American Cinematographer - January 2019 - 44
American Cinematographer - January 2019 - 45
American Cinematographer - January 2019 - 46
American Cinematographer - January 2019 - 47
American Cinematographer - January 2019 - 48
American Cinematographer - January 2019 - 49
American Cinematographer - January 2019 - 50
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American Cinematographer - January 2019 - 53
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American Cinematographer - January 2019 - 61
American Cinematographer - January 2019 - 62
American Cinematographer - January 2019 - 63
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American Cinematographer - January 2019 - 65
American Cinematographer - January 2019 - 66
American Cinematographer - January 2019 - 67
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American Cinematographer - January 2019 - A
American Cinematographer - January 2019 - B
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American Cinematographer - January 2019 - Cover3
American Cinematographer - January 2019 - Cover4
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